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The Trump administration and the MAGA-fied GOP that enables it are full of weak men who are deeply insecure about their manhoods.
Look, at this point, I think it’s abundantly clear why there’s currently a makeshift UFC stadium, which President Donald Trump compares to the Eiffel Tower, under construction on the White House lawn right now. It’s the same reason FBI Director Kash Patel announced a plan to have UFC fighters train FBI agents; why Defense Secretary Pete Hegseth called a top military command meeting just to tell military generals they needed to stay in shape on behalf of America’s “war ethos;” why DHS Secretary Markwayne Mullin wants to make dueling great again; and why Trump is out here holding up signs to show how much longer his reflecting pool is than your average skyscraper.
The Trump administration and the MAGA-fied GOP that enables it are full of weak men who are deeply insecure about their manhoods.
And that’s the same reason there is such a strong push to rename and rebrand the Department of Defense as the Department of War.
On Thursday, the House Armed Services Committee narrowly voted along party lines to permanently change the title of the Defense Department to the War Department.
From Politico:
In one of its final votes, the Armed Services Committee approved an amendment from Rep. Ronny Jackson (R-Texas), a hard-line Trump ally, to formally adopt the name change.
Trump signed an executive order last September authorizing the use of the Department of War in place of the Department of Defense. The move to revert to a title the bureaucracy last held in the 1940s reflects a tougher military that fights and decisively wins wars, according to the president and Pentagon chief Pete Hegseth.
Jackson similarly argued that permanently changing the name to the War Department “reflects the determination and resolve” of the military.
“Restoring the name Department of War sends an unmistakable signal to the world,” Jackson said. “Deterrence only works when adversaries believe America is willing to fight and win to secure its interests.”
No, Jackson, that’s not what the name change signals to the world.
First of all, the war with Iran that we’re currently engaged in has been such a global humiliation for the country that the U.S. House of Representatives just passed a resolution to force the president to end it without a single concession by the Iranian government, because otherwise, we could be stuck in this expensive-ass, gas price-exacerbating, missile-wasting international peen-measuring contest in perpetuity.
So, again, no, rebranding the Defense Department as the Department of War does not project America’s willingness “to fight and win.” It just makes our government look like it’s full of man-children, melting G.I. Joe figurines with a magnifying glass and calling themselves warriors.
Seriously, what is wrong with these people?
Mind you, this all comes at a time when congressional Republicans are trying to force through a $1 trillion defense bill that would include funds to keep paying for this disastrous Iran war that has accomplished absolutely nothing since it began in February. The name change would reportedly add another nine figures in taxpayer funds to the bill, which is why Democrats on the House Armed Services Committee are unhappy about Thursday’s vote, and it’s just a really stupid thing to waste time and money on.
More from Politico:
Top House Armed Services Democrat Adam Smith of Washington mocked the proposal as “one of the dumbest things that has been done by this administration.”
“It’s semantic nonsense at a time when we have a lot of substantive arguments,” Smith said.
Opponents of the move have also argued it would waste money. The Congressional Budget Office estimated that a full renaming could cost as much as $125 million.
“It’s performative bullshit,” Rep. Pat Ryan (D-N.Y.), one a dozen Democrats who opposed the bill, said. “I think ending on that performative note summed up the whole situation.”
On the other hand, Hegseth seems really happy about it, which is more than one can say for most people who commented on his tweet praising the committee for voting for it.
The U.S. is being run by a bunch of sad, little men, and the rest of us are tired.
SEE ALSO:
Pete Hegseth Removes 2 Black Officers From Promotion List
Pete Hegseth Fired US Army Chief Of Staff So He Can Be Racist In Peace

Pete Hegseth Blocking Promotions For Black, Women Navy Officers, Too

Republicans On House Armed Services Committee Vote For ‘Department Of War’ Rename, But Why Though? was originally published on newsone.com

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Kim Sion and Jarvis Cocker’s exhibition promises “unlikely conversations” Photo: Tom Jamieson
Were you aware that the Britpop singer Jarvis Cocker attended Saint Martin’s art school in London back in the day? The pop star and frontman of Pulp is now getting all arty again, curating a show at the Hepworth Wakefield in West Yorkshire next year with his wife, the creative consultant Kim Sion.
The exhibition, titled The Hodge Podge, promises to be an eclectic mix, prompting “unlikely conversations” between artists such as Jeremy Deller, Peter Doig, Barbara Hepworth and Klara Kristalova. The couple have even drawn up a manifesto, highlighting the meaning of “hodge podge”—just so you know, the phrase originated in the 15th century from the Middle English/French phrase hochepot, which meant a stew made of many ingredients.
The exhibition will apparently end with Dreamachine, “a machine that shows us that our minds make art, without us even thinking about it”. All sounds perfectly rational.
• The Hodge Podge: Jarvis Cocker & Kim Sion curate The Hepworth Wakefield, Hepworth Wakefield, 21 May 2027-31 October 2027
The Fight Club actor shows his art in public for the first time in a group show with musician Nick Cave and artist Thomas Houseago
The man of the hour arrived at the gallery with Talk Art hosts Russell Tovey and Robert Diament in tow
His “Pack a Punch” paintings are inspired by Thai boxers

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Marianne Rosenberg, who founded Rosenberg & Co in 2015, comes from a long line of storied art dealers
Photo: Eva Sakellrides
Marianne Rosenberg grew up with art for “breakfast, lunch and dinner”, she jokes. The Upper East Side dealer comes from a family of storied gallerists. Her great-grandfather, Alexandre Rosenberg, was a major art world figure in Paris in the late 19th century, acquiring works by artists like Paul Cézanne and Vincent van Gogh at a time when the market for Impressionist painting was still nascent. Anticipating a shift in taste that would later define Modern art history, his sons expanded that vision, but one son in particular, Paul Rosenberg, transformed the family name into a cornerstone of the 20th-century art market.
With galleries in Paris and London, Paul cultivated relationships with artists that were both commercially astute and deeply personal. He represented figures like Henri Matisse, Fernand Léger and Pablo Picasso, shaping their markets and institutional legacies, and becoming one of the most important dealers in the industry.
War would interrupt Paul’s trajectory when the family was forced to flee Nazi-occupied France in 1940. “Everything was stolen,” Marianne says. “That included things that were unimportant in the scheme of history, like pots and pans, as well as artwork, books and archival materials.” Settling in New York, Paul re-established his gallery and was later joined by his son Alexandre P. Rosenberg in 1946. The two worked together until Paul’s death in 1959, when Alexandre continued the business.
Installation view of Giacomo Manzù: The Artist and his Dealer
© Adam Reich
Over the years, Alexandre (Marianne’s father) built his own connections with artists, including Giacomo Manzù. Alexandre represented the Italian artist known for his bronze sculptures and reliefs, including the Door of Death (1961-64) for St Peter’s Basilica in Vatican City, forming a close relationship until the dealer died in 1987. At that time, Paul Rosenberg & Co. closed.
While she absorbed the art world through osmosis—attending auctions and events with her mother and building a collection of her own—Marianne spent the first part of her career as an attorney in international aviation finance law. It wasn’t until 2015 that she started her gallery, Rosenberg & Co.
“There was always a push and pull for me with the art world,” Marianne says. “I’ve always been in it in ways, but I became very good at my job as a lawyer. At some point being on the hamster wheel was no longer fun, and the art world pulled stronger.”
Marianne has since continued her family’s focus on Impressionist and Modern art, and she also works with contemporary artists. Like many families whose possessions were stolen by Nazis, she has also been trying to recover missing artworks, following in her grandfather and father’s footsteps. Paul recovered around 300 works before his death and Alexandre was a lieutenant in the Free French Forces, helping to stop a train full of Nazis and looted artwork days after Paris was liberated.
“We’re very fortunate because my grandfather, Paul, was extraordinarily meticulous and kept records of every work that came through the gallery with an inventory number, measurements, even a little photo,” Marianne says. The family was recently successful in the restitution of a painting by Camille Pissarro, but Marianne estimates there are still more than 50 works missing.
Many of the records her grandfather kept are now in the Paul Rosenberg Archives at the Museum of Modern Art, a rich collection that offers insight into the inner workings of the art world in the first half of the 20th century and the lives of the famous figures Paul worked with.
Installation view of Giacomo Manzù: The Artist and his Dealer
As Marianne rebuilds the family’s material legacy, she has also been reflecting on the intangible, looking to revive the memory and influence of her father. To this end, she opened Giacomo Manzù: The Artist and his Dealer (until 27 June), a show of sculptures, works on paper and archival letters that explores the decades-long relationship between Manzù and Alexandre. The exhibition is Manzù’s first in New York since 1985 when Alexandre presented a show of bronzes.
“We spent almost every summer visiting Giacomo Manzù and his family when I was a child,” Marianne says. “I am around the same age as his daughter, Giulia, and we built a beautiful friendship as children despite her speaking Italian and me speaking French.”
The families lost touch after Alexandre’s death but reconnected years ago when Marianne reached out to Manzù’s foundation in search of a certificate of authenticity. The person who responded was Giulia.
“We realised we were both restoring the memories of our fathers through our work and eventually we had the idea for the exhibition,” Marianne explains.
Key works in the show include Standing Cardinal (1972), one of many depictions of cardinals conveyed with authority and introspection, as well as Cestino (1984), a gilt bronze basket of fruit. A favourite sculptor of Pope John XXIII, Manzù often featured ecclesiastical subjects, though without reverence.
Yet it is the archival material that gives the exhibition its particular resonance. Letters between Manzù and Alexandre reveal a relationship built on trust and mutual regard.
An exhibition on Rosenberg in Belgium focuses on the story of his Paris gallery and the recovery of his looted art
After leaving Berlin in 1937, Berggruen will be placing his collection – which will go on show this autumn – on a ten-year loan with the Berlin State Museums
Stories of how works by Matisse, Cézanne, Chagall and others moved around during Second World War are told at New York’s Jewish Museum
Sotheby’s to auction looted painting by Liebermann that was returned to heirs last week

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Looking back, Kerry Washington says starring in Shonda Rhimes’ hit drama “Scandal” demanded a level of maturity she hadn’t yet developed.
On April 5, 2012, ABC premiered “Scandal” by Shonda Rhimes starring Kerry Washington and Tony Goldwyn. Since then, the hit drama series which wrapped in 2018 continues to be a topic that circulates on social media as fans reference and rewatch the show’s seven seasons. 
At the time, Washington, who played the show’s leading lady Olivia Pope, made history as the first Black woman to lead a primetime drama since Diahann Carroll in 1968. And while fans and social media were celebrating the moment, the actress reflected on those years in a conversation with Goldwyn. 
“I was talking yesterday with my manager about like being so grateful that ‘Scandal’ didn’t happen earlier in my life because I would not have been able to handle it. It required so much leadership, responsibility, accountability, communication skills, and teamwork. It required such a level up for me as a human being,” Washington told her co-star. “If any of that had happened sooner, I would have destroyed it, so I do think like maybe things were harder earlier on because I needed to grow and learn to be able to meet this moment.”  
And that moment’s cultural impact has lasted 14 years. So much so that fans still have debates online about the relationship between Olivia Pope and fictional President Fitzgerald Grant (Goldwyn). 
“People are so passionate about Olitz, still,” she said. “Also, have you noticed this thing online where some people are like, ‘Now that I’m older and I watch the relationship, I’m not sure how healthy it is.’ Have you seen any of that? They weren’t the healthiest couple. That doesn’t mean they weren’t madly in love, but they had some difficulties, which is why people loved it.”
“I feel that what we had at the root of it was very real, and it’s why we could never get away from it — as opposed to being something that was ultimately dysfunctional. I thought ultimately these two people were their answer to each other,” Goldwyn added. 
Now, while both actors firmly agree that the two characters should be in couples therapy, they both recognize the impact of their on-screen romance. 
“The other day, I was thinking people were like ‘it’s so groundbreaking that Kerry’s the first female [lead] since Diahann Carroll in a drama,’ and to have an interracial relationship at the center of this thing. It’s so [wow],” Goldwyn recalled. “Now you don’t even remark on it.”  
“The world is constantly catching up to her,” Washington said, speaking of Shonda Rhimes. “She is like, I’m going to write what I see. I’m going to write what I feel. And I’m not going to let anybody silence me or put me in a box. And I do I think there is something about that courage and vision that really has sort of impacted so many of us in how we live our lives. Not just the choices we make as artists, but how we live our lives.”

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Julio Le Parc in 2019 Courtesy Museo Nacional de Bellas Artes, Buenos Aires
The Argentine-born artist Julio Le Parc, a pioneer of kinetic art whose work helped redefine the role of the viewer, died on 30 May at the age of 97 in Paris, where he had lived since the late 1950s.
Despite his declining health, Le Parc had hoped to travel to London for the opening of Light. Colour. Action, a major exhibition at Tate Modern devoted to his work (11 June-3 May 2027). Bringing together more than 60 works, the show spans seven decades of a career dedicated to rethinking the relationships between art, space and audience.
Le Parc transformed light, colour and movement into more than working materials. For him, these were ways of thinking. He co-founded the Groupe de Recherche d’Art Visuel (Grav) and was one of the first living Latin American artists to have a solo exhibition at the Metropolitan Museum of Art in New York. His work challenged passive contemplation and proposed a more physical, playful and democratic experience of art.
Born in the province of Mendoza in 1928, Le Parc grew up in a working-class family. His talent for drawing was recognised early on by a schoolteacher, and his mother enrolled him in art classes. “That’s when I started drawing, and that’s when I realised this was what I wanted to do for the rest of my life,” he recalled years later. Le Parc soon became interested in the avant-garde movements then emerging in Buenos Aires, including Concrete Art and Lucio Fontana’s Spatialism.
Installation view of Julio Le Parc’s Ensemble of Eleven Surprise Movements (1967) at the Palais de Tokyo, Paris, in 2013 Photo: André Morin. © ADAGP, Paris, and DACS, London
In 1958, Le Parc received a scholarship from the French government to study in Paris. His arrival in Europe marked the beginning of an exploration he would never abandon: movement, light, colour, perception and active public participation. These ideas would later run through Grav’s 1961 manifesto, Propositions sur le mouvement.
Together with his colleagues at Grav, Le Parc challenged the dominant artistic tradition, moving away from static painting towards works that change with movement, light and the presence of people. Using mirrors, reflection and mobile elements, he created pieces that altered the space around them and invited spectators to become participants.
In 1966, Le Parc won the International Grand Prize for Painting at the 33rd Venice Biennale. It was a landmark achievement that established him as a preeminent Latin American artist of his generation. The award surprised the international art world, which had widely seen the American artist Roy Lichtenstein as the favourite to win.
Le Parc never limited his work to a single technique or medium. “If you have an idea, a proposal, a strong thought, what remains is the reflection it produces,” he said. “The medium used to create it is irrelevant. And it is no guarantee of quality.”
Among his most significant exhibitions in Argentina was Julio Le Parc: Un visionario at the Centro Cultural Kirchner in Buenos Aires in 2019. Curated by Gabriela Urtiaga—currently the chief curator at the Museum of Latin American Art in Long Beach, California—the retrospective brought together more than 160 works created over six decades and attracted half a million visitors, a record for the museum.
Installation view of Julio Le Parc’s Blue Sphere (2013) at the Museum of Art Pudong, Shanghai, in 2022 Photo: © Museum of Art Pudong. © ADAGP, Paris, and DACS, London
In 2014, Le Parc became a Knight of the French Legion of Honour. Two years later, he had his first museum retrospective in the US at the Pérez Art Museum Miami. Speaking to The Art Newspaper around the time of that exhibition, he described the political and social role he had long assigned to the viewer.
“In our manifesto, we wrote that, if there is to be a transformation in contemporary art, the viewer must not be left out of it,” he said. “Because in that moment—and even now—the viewer didn’t count for anything. The viewer is never taken into account in the evaluation of contemporary art. They don’t have the means of expressing themselves, [unlike] people with money, who can pay and give a monetary value to a painting.”
That idea will be at the centre of Tate Modern’s new exhibition, curated by Val Ravaglia and Francis Hardy and organised in close collaboration with the artist and his studio. Conceived as a winding, almost labyrinthine journey, the show will revisit the early optical experiments Le Parc developed after his arrival in Paris, his celebrated kinetic works, interactive installations and explorations of colour. The inclusion of Blue Sphere (2013), acquired by Tate in 2024, will connect his later work with the early experiments that established Le Parc as a central figure in international kinetic art.
The Tate retrospective will now open without him, but it extends one of the central ideas of his life’s work: art only becomes complete when the audience enters into it.
Mathaf’s guest show at Paris contemporary art centre marks Qatar-France 2020 Year of Culture
Miami gives the octogenarian pioneer of kinetic art his first US retrospective
Co-founder of kinetic and optical art collective Grav worked with neon for the past six decades

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The Scary Movie reboot-sequel staring Marlon and Shawn Wayans, grossed $105.5 million in global ticket sales against a $30 million budget.
The latest installment of the Scary Movie franchise is either a sequel or a reboot, depending on one’s view. However, the Wayans have themselves a global hit after Scary Movie grossed $105.5 million against a $30 million budget.
The sixth installment of Scary Movie follows the same cast as the original film, with Anna Faris returning as Cindy Campbell, Regina Hall reprising her Brenda Meeks role, Marlon Wayans as Shorty Meeks, and Shawn Wayans returning as Ray Wilkins.
Directed by Michael Tiddes, the film reunites Cindy with her friends, Brenda, Shorty, and Ray, as they contend once again with the main antagonist, Ghostface, from the first film.
The film was written by Marlon Wayans, Shawn Wayans, Keenan Ivory Wayans, Craig Wayans, and Rick Alvarez.
Opening against a big-budget film in Masters Of The Universe, Scary Movie’s $55 million was the best opening weekend ever for the franchise and topped ticket sales this past weekend in the United States. In comparison, the Masters Of The Universe He-Man vehicle hauled in $29.3 million in gross ticket sales against a $170 million budget.
Other films rounding out the top 10 in domestic ticket sales in order are Backrooms, Obsession, Amazing Digital Circus, The Mandalorian and Grogu, Michael, The Breadwinner, Pressure, and Devil Wears Prada 2.
[h/t] Deadline & Variety
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Photo: Getty
Scary Movie Scores Global Ticket Haul Of $105.5 Million was originally published on hiphopwired.com

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June 8, 2026
As the summit marks 10 years of honoring excellence, this list looks back at the standout honorees
For a decade, the BLACK ENTERPRISE XCEL Summit has spotlighted the innovators, executives, entrepreneurs, and changemakers redefining leadership across business, technology, media, and culture. As the summit marks 10 years of honoring excellence, this list looks back at the standout honorees whose vision, influence, and impact have helped shape industries and open doors for the next generation. From boardrooms to startups, from entertainment to public service, these leaders embody the ambition, resilience, and forward-thinking spirit that continue to drive Black excellence. Join BLACK ENTERPRISE at the XCEL Summit taking place in Orlando, Florida, at the Hyatt Regency Grand Cypress on Oct. 21-Oct. 23, 2026.
George C. Fraser: Founder, FraserNet Inc.

Rev. Dr. W. Franklyn Richardson: Senior Pastor, Grace Baptist Church

Larry Fitzgerald Jr.: Chairman & CEO, Larry Fitzgerald Foundation; Former NFL Player, Philanthropist, Investor

John Hope Bryant: Founder, Chairman & CEO, Operation HOPE, Inc.; Bryant Group Ventures L.L.C.

Troy Taylor: Founder, Chairman & CEO, Coca-Cola Beverages Florida

Robert Smith: Founder, Chairman & CEO, Vista Equity Partners

Ed Gordon: President, Ed Gordon Media

Steven Williams: Chief Executive Officer, PepsiCo Foods North America

R. Donahue Peebles: Chairman & CEO, The Peebles Corporation

D.L. Hughley: Actor, Comedian & Author, The D.L. Hughley Show

Anthony Anderson: Emmy & Golden Globe Nominated Actor

Chris Womack: President & CEO, Southern Company

David Grain: CEO, Grain Management L.L.C.

Shannon A. Brown: President & CEO, BCS Consulting Services; Retired SVP, Eastern Division U.S. Operations and Chief Diversity Officer, FedEx Express

Ben Crump: Civil Rights Attorney

Arnold W. Donald: President & CEO Carnival Corporation & PLC

Kirk McDonald: CEO, GroupM North America (NA)

Ray Robinson: Chairman, Citizens Banchares Corporation
Grant Hill: Owner, Vice Chairman of the Board, Atlanta Hawks

The XCEL Summit was paused during the COVID19 pandemic. Like the rest of the world, BE pivoted to an online presence, hosting a virtual summit featuring one-on-one interviews and panel discussions to compensate for the in-person experience.

Marc. H. Morial: President & CEO, National Urban League

Rev. Jesse Jackson: Founder, Rainbow PUSH Coalition

Jerome “The Bus” Bettis: Philanthropist, Entrepreneur, Pro Football Hall of Fame Inductee

Eddie Levert: Lead Singer, Songwriter, Founding Member of The O’Jays

Kenneth Chenault: Chairman and Managing Director, General Catalyst; Former Chairman & CEO, American Express Co.

Tommie Smith: U.S. Olympic Gold Medalist

Bishop T.D. Jakes: Bishop, Potter’s House Ministries; CEO, TDJ Enterprises L.L.P.; The Potter’s House of Dallas

Congressman John Lewis: Congressman, Civil Rights Leader

John W. Rogers Jr.: Chairman & Chief Executive Officer, Ariel Investments

Robert Townsend: Award-winning TV/Film Director, Actor, Comedian

Lonnie Bunch: Founding Director, Smithsonian National Museum of African American History and Culture

To witness the 2026 BLACK ENTERPRISE XCEL Summit honoree ceremony, join BE in Orlando, Florida, at the Hyatt Regency Grand Cypress on Oct. 21-Oct. 23, 2026.
RELATED CONTENT: BET Founder Robert L. Johnson To Receive XCEL Honors At BLACK ENTERPRISE’s 2026 XCEL Summit For Men

© 2026 Black Enterprise. All Rights Reserved.

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Sports history has no shortage of wild arrest stories. Check out a list of the wildest sports arrests of all-time.
Sports fans have seen athletes get caught up in all kinds of off-field drama over the years, but every now and then, a story comes around that makes everybody stop and say, “Wait…what?” Not just because somebody got arrested, but because the details sound too wild to be real.
That’s where Denver Broncos linebacker Jonathon Cooper comes in. Cooper and his girlfriend, Jade Fiegen, were both arrested after what authorities described as a domestic dispute at Cooper’s Colorado residence. According to reports, the argument allegedly started over cheating accusations and Cooper’s phone, with Fiegen allegedly throwing his phone before the situation turned physical. Cooper was booked on domestic violence and criminal mischief charges, while Fiegen was also booked on domestic violence and criminal mischief charges.
The part that sent the internet into full disbelief, though, was the phone detail. According to TMZ, Cooper allegedly admitted to damaging Fiegen’s phone by biting and cracking it after threatening to break it if she refused to leave. Fiegen also claimed the phone had irreplaceable messages and voice notes from her late mother on it.
According to the latest reports, Cooper appeared in court on Friday (June 5), was released on a personal recognizance bond, and is due back for a Monday disposition hearing. The Broncos said they were aware of the matter and gathering more information, while the NFL could still review the case under its personal conduct policy. Online, the reaction was exactly what you’d expect: people were stunned, confused, and stuck on the idea of a grown NFL linebacker allegedly biting an iPhone during a relationship argument. Social media quickly turned the “put it in his mouth” detail into meme material, even while the actual allegations remained serious.
And while Cooper’s situation is fresh, sports history has no shortage of arrests that made fans ask the same question: How did we even get here?
Check out a list of the wildest sports arrests of all-time.
Charles Barkley has plenty of legendary stories, but his 1997 Orlando arrest is still one of the wildest. According to AP and an excerpt from Timothy Bella’s Barkley: A Biography, Barkley was accused of throwing a man through a plate-glass window at an Orlando bar after ice was allegedly thrown toward him and women at his table. He was charged with aggravated battery and resisting arrest without violence. The wildest part is that Barkley never really ducked the story; years later, it still gets brought up because it sounds like something straight out of a movie.
There may not be a more infamous athlete arrest than O.J. Simpson’s in 1994. Simpson was wanted in connection with the murders of Nicole Brown Simpson and Ronald Goldman, then ended up in the back of a white Ford Bronco during a slow-speed police chase that took over television. AP noted that he was arrested and charged with murder after the chase on June 17, 1994. It was dark, surreal, and one of the biggest media moments in American sports history.
Plaxico Burress’ arrest became infamous because the whole thing started with him accidentally shooting himself. In 2008, the Giants receiver brought a gun into a Manhattan nightclub, and it went off inside the club, hitting him in the leg. ESPN later revisited how the incident helped derail a Giants season that had Super Bowl-level expectations. The “he shot himself and still went to jail” part made it one of the strangest legal stories an NFL star has ever been involved in.
Maurice Clarett’s 2006 arrest sounded like the final score of a crime thriller. The former Ohio State star was arrested after a highway chase in Columbus, and police said they found four loaded guns in his SUV. Reports also noted that officers had to use Mace during the arrest. For a player who once looked like a future NFL star, the whole situation became one of the most dramatic falloffs sports fans had seen.
Tiger Woods’ 2017 DUI arrest shocked people because of the visual alone: one of the most famous athletes ever, found asleep behind the wheel. ESPN reported that police found Woods asleep in the car, and AP later noted that he said the incident involved a bad mix of painkillers. He eventually pleaded guilty to reckless driving in connection with the case. It was wild in a loud, chaotic way — it was wild because it was Tiger Woods, looking completely human and vulnerable in a way fans weren’t used to seeing.
Tonya Harding’s case remains one of the most infamous scandals in Olympic history. In 1994, Nancy Kerrigan was attacked before the U.S. Figure Skating Championships, and the investigation eventually connected the plot to people around Harding, including her ex-husband. Harding pleaded guilty to conspiracy to hinder prosecution and was banned for life from U.S. Figure Skating. It was messy, theatrical, and so unbelievable that Hollywood eventually turned it into a movie.
Michael Vick’s 2007 case was one of the most shocking falls from grace the NFL has ever seen. The Falcons quarterback pleaded guilty in a federal dogfighting case connected to Bad Newz Kennels and was sentenced to 23 months in prison. What made it so stunning was the contrast: Vick was one of the most electric athletes alive, and then, suddenly, he was at the center of a brutal criminal case that changed his career and public image forever.
Sam Hurd’s arrest still feels unreal because of the scale of what prosecutors accused him of trying to do. The former NFL wide receiver was later sentenced to 15 years in federal prison for his role in a cocaine and marijuana distribution conspiracy. The Justice Department said Hurd was sentenced in 2013 for that role, while NFL.com noted the case ended his football career. Plenty of athletes have had off-field trouble, but very few stories jump from the locker room to federal drug conspiracy like that.
Nate Newton’s case belongs here because getting caught once with a huge amount of marijuana would already be wild — but he got caught twice in six weeks. In November 2001, the former Cowboys lineman was arrested after police found 213 pounds of marijuana in a van. Then, in December, he was arrested again with at least 175 pounds of marijuana in his car. That’s the kind of story where even sports fans who lived through it still have to double-check the numbers.
Adam “Pacman” Jones had multiple legal issues over the years, but the 2007 Las Vegas strip club incident remains one of the wildest. Jones was connected to a melee that preceded a triple shooting, and ESPN later reported that a jury ordered him to pay $11 million in damages to two injured strip club employees. He was not accused of being the shooter, but the scene, the fallout, and the NFL suspension made it one of the most chaotic athlete arrest sagas of that era.
Darryl Strawberry’s 1999 arrest was one of those sad, messy moments that showed how far a superstar could fall. The former MLB slugger was arrested after allegedly offering an undercover officer money for sex, and police said they found cocaine in his wallet. Strawberry’s story had layers — addiction, legal trouble, health issues, and a career that had already seen incredible highs. As wild as the arrest sounded, it also became part of a much bigger story about how badly he needed help.
Cooper’s arrest is the reason this whole conversation is back on the table. The Broncos linebacker and his girlfriend were both arrested after an argument that allegedly started over infidelity accusations and a phone. The allegations include physical claims from both sides, but the detail that took the story viral was Cooper allegedly biting and damging her phone. It’s one of those modern damaging arrest stories that sounds like a group char joke until you realize there’s a real court process behind it.
RELATED: How Come So Many Former NBA Players Find Themselves In Legal Trouble?
Foul Call: The Wildest Sports Arrests Of All-Time was originally published on cassiuslife.com
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The 30 Most Beautiful Black Women In Hollywood
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As a result of regulations implemented in Trump’s “Big Beautiful Bill,” an estimated 3.5 million people lost access to SNAP benefits.
On Friday, a federal judge ruled in favor of 20 Democrat-led states, issuing an injunction preventing new regulations on SNAP benefits from taking effect. 
According to AP, U.S. District Judge Myong Joun said he would issue a memorandum explaining why he issued the preliminary injunction. Some of the restrictions the Democratic states sued over involved “gender ideology,” “immigration,” and “fair athletic opportunities” for women and girls, i.e., things that have nothing to do with keeping low-income families fed. 
In their lawsuit, the states argued the Agriculture Department has “thrown unconstitutional and unlawful roadblocks between the programs created by Congress and the States that rely on them, threatening critical nutrition support, vital agricultural research, and the safety of our national food chain and communities.”
Lawyers on behalf of the Agriculture Department argued that “these new requirements would help promote the sound stewardship of taxpayer dollars, strengthen USDA’s control and oversight of obligated funds, and ensure that grant recipients comply with federal laws, regulations, and policies.” 
Considering that the national debt has surpassed the U.S. GDP under the Trump administration, “sound stewardship of taxpayer dollars” hasn’t really been one of their strong suits. 
CNBC reports that 3.5 million people have already lost SNAP benefits as a result of new regulations stemming from President Donald Trump’s “big, beautiful bill.” 
From CNBC:
Republicans’ One Big Beautiful Bill Act included $187 billion in cuts to SNAP, according to the Congressional Budget Office. At the time, CBPP called it the “biggest cut in the program’s history.”
The new law requires states to help pay for SNAP benefits, which were previously a federal obligation.
To limit how much they must contribute, states can bring down their error rates — that is, underpayments or overpayments of SNAP benefits. However, curbing those error rates may result in individuals losing access to SNAP, according to CBPP.
In Arizona, there has been a 51% decrease in SNAP beneficiaries, with Louisiana seeing a 20% decrease. This would be a good thing if it meant people were getting off the program because they found work that paid them a livable wage, but that’s not what’s happening. The loss of SNAP benefits comes as food insecurity increases due to the continually rising price of goods. 
Much of Trump’s second term has been spent gutting social safety-net programs, a stark reversal of his campaign promises to lower prices. One of the longest government shutdowns in United States history occurred last fall as a result of lapsed tax subsidies for insurance provided through the Affordable Care Act. In fact, the Trump administration used that shutdown as an excuse not to pay out SNAP benefits. 
The shutdown ended with no deal being reached to extend the subsidies, thanks in no small part to Trump advocating against them. The lapsed subsidies have resulted in monthly premiums increasing by 26% on average. A report from the health care research group KFF found that an estimated 9 million people are newly uninsured due to being unable to afford the increase in monthly premiums. 
So under Trump, more Americans are getting sicker and going hungry. But hey, at least the money that could’ve prevented low-income families from starving is being used to *checks notes* build a new White House Ballroom. 
We love it here. 
SEE ALSO:
Black Churches Can Help Communities Navigate New SNAP Requirements 
Policing The Plate: The Politics Of Texas’ New SNAP Restrictions
Federal Judge Blocks New Trump Restrictions For SNAP Benefits was originally published on newsone.com

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The list, which features 43 different women, highlights self-made billionaires in several categories, including media and entertainment, retail, technology, food and beverage and logistics.
Forbes has unveiled its annual list of the richest self-made women in the United States and four Black women who’ve helped shift things in between fashion and retail, media and entertainment are among the 43 mentioned on the list: Oprah, Sheila Johnson, Beyoncé and Rihanna.
“To be eligible for the list, women also had to have substantially made their own fortunes in the U.S. and/or be permanent residents,” Forbes wrote in an explanation of its methodology to determine who would make the list. “While none inherited their wealth, some have climbed farther and overcame more obstacles.”
Both Rih and Queen Bey are tied at No. 39 on the list, with each being worth $1 billion. While Rihanna’s Fenty Beauty empire helped catapult her to self-made billionaire status, Beyoncé’s is mostly due to touring as a solo artist and as a member of Destiny’s Child. Her “Cowboy Carter Tour” generated $450 million, making it the highest-grossing country tour of all-time as she finally won a long-awaited Album of the Year Grammy at the Grammy Awards in 2025.
Oprah and Johnson are two women who’ve been on the list for quite some time. Johnson, who divorced her husband, BET co-founder Bob Johnson, in 2002, sold her shares in the network and used the proceeds to build wealth through a portfolio of hotels, real estate and horses. She hasn’t fully divested from ownership, though, as through her shares in Monument Sports, she owns a stake in the WNBA’s Mystics, the NBA’s Wizards, and the NHL’s Capitals. After making the list in 2025, Johnson increased her wealth to $1.2 billion.
Oprah ranks No. 16 on the list as the richest self-made Black woman in America. Seeing her net worth rise from $2.3 billion in 2023 to a new peak of $3.2 billion. Since the end of her talk show in 2011, Oprah has extended her name into her own television network (OWN), production and more. Even after selling OWN to Warner Bros in 2020 for shares of the company, she expects those shares to jump further in value after the company’s merger with Paramount closes.
In the U.S., more than 700 men are self-made billionaires, with a combined net worth of $6.7 trillion, but the number of women having a say in the number of billionaires is on the rise. Now, there are more women who are billionaires than at any other period in American history, and there likely will be more Black women to join the self-made richest women list.
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Andy Warhol’s Candy Apples pattern (around 1962) manufactured by Stehli Silks Corporation and a portrait of the artist at the Café de Flore in Paris in 1980 © The Andy Warhol Foundation for the Visual Arts, Inc.

In a new publication, the Montreal-based curator Paul Maréchal explores an under-the-radar aspect of Andy Warhol’s canon: his textiles, printed fabrics and clothing. Warhol created just over 200 textile designs, all of which are catalogued in the book. These include border patterns in the 1950s, along with screen-printed garments from the 1960s to the 1980s. Warhol’s textiles paved the way for his “Pop aesthetic”, according to the book’s publisher. Here we have selected three key takeaways from the publication.
Maréchal writes that Warhol concluded his textile work from the 1950s with the acceptance of a major commission: an awning for the storefront of the Fleming-Joffe boutique in St Louis, Missouri. Owned by the brothers Arthur and Teddy Edelman, the company also commissioned Warhol to create advertising illustrations in the late 1950s and early 60s, and even a colouring book on the same theme (The Wonderful World of Fleming-Joffe, 1960). The book featured drawings of lizards, snakes and crocodiles, inspired by the brand’s footwear, which was made from reptile skins. Arthur Edelman also acquired a boa constrictor named Noa, which he took everywhere to promote the boutique. “Noa inspired many of Warhol’s drawings. For the awning, Warhol painted 11 intertwined snakes in pastel colours on a bright yellow cotton background, creating a dynamic pattern that captured the attention of passers-by,” Maréchal says.
Sarah Dalton wearing Warhol’s silkscreened Fragile-Handle with Care dress in 1964 at the Silver Factory © The Andy Warhol Foundation for the Visual Arts, Inc.
Maréchal highlights that around 1963, Warhol had entirely abandoned producing textiles for manufacturers. But in 1966 he discovered a new textile medium: cellulose (paper) and cotton dresses sold at the Abraham & Straus department store in Brooklyn. These garments provided an ideal blank canvas for silk-screening, the author writes. Some dresses showcased prints of Warhol’s most celebrated works, such as Fragile, Open This End and Handle with Care, which were effectively textile adaptations of his paintings. That same year, 1966, Warhol live silk-screened a dress beig worn by Nico, singer with The Velvet Underground. “His later use of cellulose and cotton garments as silk-screen supports therefore reflects not only a change of medium, but also a new level
of artistic independence and authorial control,” Maréchal tells The Art Newspaper.
In 1979, Warhol refined his approach to hand-printed T-shirts, incorporating logos from brands he previously featured in his 1960s works of art, writes Maréchal. The artist subsequently created unique screen-printed T-shirts featuring Brillo, Hershey, Campbell’s soup and Coca-Cola logos, first in black and white, and later in black with the Brillo logo in red. Maréchal highlights six T-shirts dating from 1978 to 1979, which were made while Warhol was working on his Big Retrospective Painting series—large-scale canvases acquired by his Swiss gallerist Bruno Bischofberger—that combined some of his most famous logos and motifs of the 1960s. “What my book really emphasises is how Warhol’s textiles anticipate his later Pop art language—repetition and everyday imagery,” Maréchal says.
• Paul Maréchal, Andy Warhol: The Complete Textiles and Fashion, Prestel, 272pp, £45 (hb)
New book brings together hundreds of images of nude young men, which “are imbued with an emotional vulnerability that few of his later works exhibit”
Three Andy Warhol devotees give their take on the near-1000 page biography
The major show chronicles the many faces of Warhol’s fascination with fame

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“Hey Elon, if u see this, please put the audio post feature back on here. Thanks, u frog build looking b*tch. Barrel chested ewok u look like u eat sand.”
Doja Cat really misses the ability to post audio messages on X (formerly Twitter) so much that she decided to slam the platform’s owner, Elon Musk, for removing them.
“The Streets” crafter didn’t hold back while venting about audio posts being taken down. In a post on her X account, the musician called out Elon Musk for the removal of the feature and went in.
“Hey Elon, if u see this, please put the audio post feature back on here. Thanks, u frog build looking bitch. Barrel chested ewok u look like u eat sand,” Doja Cat wrote.
Phony Stark removed the feature last year, one of the many decisions he has implemented since his unfortunate acquisition of the social media platform.
Elon Musk has not responded to Doja Cat’s post, but social media is definitely appreciating her clowning the SpaceX chief.
“Instead of beefing with other female rappers she chooses to beef with evil billionaires, this is why she’s my fav,” one person wrote on X.
Another person on X wrote, “he really does look like what would happen if humans were allowed to breed ewoks like pugs…. her mind.”
“now why did you have to insult Ewoks like that Doja,” another post read.
Gotta love Doja Cat.
We’re not sure this will bring the audio posts back, and we are sure Musk will eventually say something because he is a very petty man.
Until that happens, you can see reactions to Doja’s post below.
Doja Cat Slams Elon Musk For Removing Audio Posts On X, Calls Him A “Frog Build Looking B*tch” was originally published on hiphopwired.com
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The October Gallery Museum places art in the community. Here are partner locations where you can have an art experience.
Some locations art is installed inside buildings and visits are during regular business hours. Other locations are by appointment only. Schools are not open to the public. In addition, we have many outdoor installations that you can enjoy around the clock. Check each location below for details. Tours are available upon request. 215-352-3114.
Here are some of our patrons that have donated art and art related items installed as part of our Art in the Community program. Thanks!
Watson and Sonia Brown
Stephanie Daniel
Chad Cortez Everett
Gail Gaines
Dr. Darryl J. Ford
Kelly R. Harrison
Deborah Kelly
Betty Ann D. Lawrence
David Lawrence
Leon McDuffie
Michael Muhammad
Jay R. Ogilvie
Marjorie H. Ogilvie
Junious Rhone, Sr.
Robin Rhone
Shirley Rhone
April Rice
Karen Roach
Monica Rocha
Steve Satell
Deborah Stephens
Staci Watson 
Stephanie R. West
Horace Wright

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Art and art related items may be returned to October Gallery in good condition within twenty (20) days of the purchase for store credit ONLY – unless otherwise stated on an invoice.
Items on layaway or even items paid for will be held by the gallery for no more than ninety (90) days from the original sale date. Refund is in store credit ONLY – unless other stated on an invoice.

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The Medina Triennial hub is housed in a historic building that used to be a hotel Photo: Dawson Andrews
At a time when arts funding in the United States is dwindling, art triennials have taken a hit. Cleveland’s Front International folded in 2024 after two editions, and Prospect New Orleans is skipping its seventh edition next year.
A new arrival, however, offers an unusual approach and an unlikely origin story. Opening Saturday (6 June) and continuing until 7 September, the Medina Triennial is named after its off-the-beaten-track location, a town of 6,000 in Western New York. It was initiated by the New York State Canal Corporation—a subsidiary of the New York Power Authority—as part of a $300m drive to boost tourism and recreational activity along the Erie Canal, which marked its bicentennial in 2025.
Established as a nonprofit, the triennial appointed Kari Conte and Karin Laansoo as curators and drew up a budget of less than $2m, financed by regional foundations and overseas grantmakers such as Outset in the UK and the Mondriaan Fund in the Netherlands. As a seed funder, the New York Power Authority is a rare example of a public institution investing in culture as it would in infrastructure.
“It’s a crazy idea that I think no one in the field of art would have had,” Conte tells The Art Newspaper. “We hope this can be a model around the country for other agencies that are not necessarily cultural agencies.”
Few today have heard of the village of Medina, which is an hour by car from Buffalo or Rochester, and two hours from Toronto. Fewer know how to say it: unlike its namesake in Saudi Arabia, the middle syllable is pronounced “die”. In the 19th century, though, Medina was a major stop for boats plying the Erie Canal. Slicing across New York State to connect the Midwest with the Atlantic Ocean, the canal fuelled trade with Europe and lifted the fortunes of New York City and Great Lakes cities such as Chicago and Detroit. Medina was also famous for its sandstone, used widely to pave streets and construct buildings.
In shaping the triennial, the curators drew on past experience—Conte has worked with the Helsinki Biennial and the Aichi Triennale, and Laansoo with Performa, the New York City performance art biennial—as well as research into other examples, particularly the Echigo-Tsumari Art Triennale. Launched by Japan’s Niigata prefecture to revitalise its rural regions, that festival similarly emphasises local participation and a strong connection with nature. The biggest difference is that the Medina Triennial is smaller in scale, the entire presentation contained within a walkable half-mile radius.
Mary Mattingly planting her Floating Garden, a work developed during the triennial’s residency programme Photo: Dawson Andrews, courtesy Medina Triennial
Titled All That Sustains Us, the triennial’s first edition is inspired by the work of Mierle Laderman Ukeles, the unsalaried artist-in-residence at the New York City Department of Sanitation since 1977. Ukeles’s 1969 manifesto for “maintenance art” sought to foreground the labour of women and workers that keeps cities and families running. In a similar vein, Conte and Laansoo assembled 39 artists and collectives from around the world and commissioned and selected works that relate to how social, ecological and infrastructural systems are sustained in Medina and the Erie Canal.
“This is not a triennial that has a bunch of abstract paintings on the wall,” Conte says. “There are forms and ideas that the community knows.”
The art is spread across ten sites, including two parks, a YMCA, a church and a former high school for the main exhibition. The triennial hub, housed in a historic building that used to be a hotel, features furniture made of wood reclaimed from the Erie Canal. In addition to hosting its own programmes, the hub provides an art library and a meeting space for locals and visitors.
Many commissioned pieces were created in collaboration with local residents and regional institutions. Two Waters by Tania Candiani, for example, is a video in which the wordless vocalisations of hundreds of locals evoke the flow of Oak Orchard Creek and the Erie Canal through the village. And on the first day of the triennial, Lina Lapelytė will debut Faithfully Recording at the Medina Railroad Museum, a live performance in which singers and construction workers build a sculpture from reclaimed Medina sandstone.
Tania Candiani, production still for Two Waters,2026 Courtesy the artist
Through the triennial’s residency programme, artists have developed works in consultation with Medinan experts and business owners. Last autumn, Mary Mattingly planted a Floating Garden on a barge with students from the Rochester Institute of Technology and residents, who contributed trees from their backyards and personal stories of relationships with plants. This past spring, Michael Wang collaborated with maple farmers to produce Sugarbush Energy, a canned maple-sap drink distributed at Medina shops.
To stage the triennial, Conte’s and Laansoo’s team worked closely with the village, seeking approval for sites, signage and building alterations. They conducted talks at schools, churches and other organisations, enlisted hundreds of volunteers and harnessed the skills of youth from the Iroquois Job Corps, a local trade school—although specialists commuting from Buffalo and Rochester still had to be engaged for the installation of works.
The curators have been pleasantly surprised by the public’s support despite their limited exposure to contemporary art. “The village of Medina is excited for the triennial,” says mayor Deborah Padoleski. “The participants have opened the eyes of the residents of our small village to art forms that we were previously unaccustomed to!”
For Scott Hocking’s sculpture at the Medina Theater, the building owner stepped in to facilitate logistics. For Evelyne Leblanc-Roberge’s installation at the Medina Memorial Hospital, its marketing director volunteered to help with publicity.
“The community shows up when you least expect it,” Laansoo says. “We stand outside the hub, and somebody will walk by and offer something that we exactly need, which would never happen in a big city. Nobody’s asking: ‘Is it art?’ They’re asking: ‘What can we do? How can we get involved? In many ways, we made a triennial together with them.”
New triennial in New York aims to highlight the contribution of the fastest-growing demographic in the US, with exhibitions, events and a little inspiration from Yoko Ono
Plus, full listings of the biennials, triennials and festivals taking place throughout the year
Works at the inaugural triennial entreat locals and visitors alike to imagine new ways of understanding our world

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The Olympic icon shared that she recently experienced what she called one of the scariest moments of her life, prompting an outpouring of support and renewed conversations about health, recovery, and the pressures placed on high-achieving Black women.

When Simone Biles speaks, people listen.
Not just because she’s the most decorated gymnast in history, but because over the past several years, she has become one of the most influential voices in sports when it comes to conversations about mental health, boundaries, and what it means to prioritize yourself in a culture that often rewards self-sacrifice.
This weekend, Biles revealed she recently experienced a serious medical emergency that she described as a near-death experience.
In a series of posts shared to Instagram Stories, the 29-year-old Olympic champion posted photos from a hospital bed, including images of hospital wristbands and flowers sent by loved ones. While she did not disclose exactly what happened, she wrote that “almost dying wasn’t on my bingo card earlier this week” and called it “one of, if not the scariest experience of my life.” According to reports from the Houston Chronicle and other outlets, Biles said she has spent the week resting and plans to share more details later.
Biles also noted that the experience felt especially frightening because her husband, NFL player Jonathan Owens, was away at training camp when the incident occurred. She thanked her close friends and family members who checked on her, visited her, and sent flowers while she recovered.
For now, many of the details remain unknown. What is clear is that the revelation stunned fans who have become accustomed to seeing Biles as nearly invincible.
But perhaps that’s exactly why the moment resonated so deeply.
For years, Biles has challenged the notion that elite athletes — particularly Black women — are supposed to push through pain without complaint. In 2021, she sparked a global conversation when she stepped back from competition during the Tokyo Olympics to protect her mental health. At the time, some critics questioned her decision. History has largely vindicated it.
Her return to dominance, including a triumphant showing at the Paris Olympics, only reinforced what many supporters already believed: strength isn’t defined by how much suffering a person can endure in silence. Sometimes strength looks like saying, “I need help.” (The Guardian⁠)
That’s part of what makes this latest update feel bigger than a celebrity health scare.
Black women are often celebrated for being resilient, dependable, and capable of carrying enormous burdens. Yet those same expectations can leave little room for vulnerability, rest, or recovery. Biles has spent much of her career pushing back against that narrative, openly discussing therapy, trauma, mental wellness, and the physical toll of performing at the highest level.
Now, as supporters wait to learn more about what happened, many are simply grateful that she is here to tell the story herself.
For a woman who has spent years redefining what courage looks like, perhaps the most powerful message is the simplest one: even superheroes need time to heal.
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Is Harlesden High Street gallery in west London being taken over by a trendy cafe? This show is one of our critics’ picks for London Gallery Weekend 2026
Courtesy of the artist Savannah Harris and the company
For London Gallery Weekend’s sixth edition, its organisers are keen to present a gallery ecosystem in constant evolution. It is perhaps inevitable after a period in which the art market has experienced a prolonged downturn that notable closures—like Stephen Friedman Gallery’s earlier this year—gain more attention than expansions and openings. But there is much to suggest that London’s scene is in rude health, and those behind the weekend aim to show this off to a wider range of visitors than might ordinarily attend—including, they hope, a new generation of collectors.
More than 120 galleries are part of this year’s festival and more than 80 will host a public event to coincide with it. Aside from the sheer range of shows, among the big developments since last year are the expanded galleries of linchpins of the London scene like Sadie Coles and Modern Art in the West End and Maureen Paley in the East, and a host of newcomers, including Sundaram Tagore Gallery, which only opened its London space in May 2026, and Pale Horse, which is not yet a year old.
Below, our critics pick their highlights across the city.

West and Central
picked by Ben Luke

Freya Tewelde: Geometry of Elsewhere
Gallery 1957, 1 Hyde Park Gate, South Kensington, London, SW7 5EW
5 June-25 July
Freya Tewelde, A River Inside the Blue (2025)
Courtesy of the artist and Gallery 1957
New paintings by Tewelde, who was born in Asmara, Eritrea, grew up in Saudi Arabia and now lives in London. Memory has always been crucial to her work, with figures in the series Roots of Resonance: The Baobab Tree (2022-23) looming out of a dreamlike painterly haze as if through recollection. In this new body of work, Tewelde has moved further into abstraction; while she continues to explore the themes of belonging and what she calls “in-betweenness” common to earlier series, she translates her memories into pure feeling, hoping to build enveloping paintings “that can be entered rather than read”, she says.

Savannah Harris: Gloria’s
Harlesden High Street, 57 High Street, Harlesden, London, NW10 4NJ
5 June-26 July
Savannah Harris: Gloria’s at Harlesden High Street promotional image
Courtesy the artist and the company
Visitors to Harlesden High Street may be shocked that the gallery appears to have been supplanted by a coffee shop, Gloria’s, which resembles a well-known upmarket café chain. But this is part of Savannah Harris’s project, in which visitors can see several artists’ work in painting and ceramics while enjoying their flat whites. Clearly identifiable are Harris’s colourful abstractions, full of organic forms and geological strata, and incorporating sand as a reference to her Caribbean background as well as to her investigation of deep time. But other works are by unnamed “outsider artists”. Harris is asking searching questions: what purpose does art have in urban social space, and how much does name recognition—hers versus those outsider artists—matter in establishing value?

Ravelle Pillay: Revisitations
Goodman Gallery, 26 Cork Street, London, W1S 3ND
4 June-16 July
Ravelle Pillay, Tributaries (2026)
Courtesy Goodman Gallery and the artist
Pillay’s paintings begin with found images, including historic family photographs and those from official archives, relating her personal South African Indian and British heritage. The works that form Revisitations have an added poignancy since they relate to her father’s death at the end of last year. She transforms her source photographs through a poetic painterly language so that, in her words, they become “portmanteaus”, a linguistic blend of the original image and the uncertain elements conjured through paint: subjective feeling, personal and collective memory and, now, grief. Pillay uses her medium’s capacities to embody the complexities and ambiguities of archives and historical images not just as seen and analysed but as felt: through thin layers, erasure and staining, they have a haunting presence.

Candace Hill-Montgomery: A Bare Woman Mutters Nothing…
Hollybush Gardens, 1–2 Warner Yard, London, EC1R 5EY
5 June-18 July
Candace Hill-Montgomery, Pope L’s T Raining Day (2025)
© Candace Hill-Montgomery. Courtesy the artist and Hollybush Gardens, London. Photo: Andy Keate
Now in her eighties, Candace Hill-Montgomery is enjoying deserved if long overdue attention: she is showing in Greater New York at MoMA PS1 in New York until August and, here, presents her first exhibition with Hollybush Gardens. It is something of a mini retrospective, with works from the 1970s, a period in which Hill-Montgomery had a residency at the Studio Museum in Harlem and showed at Artists Space in New York, right up to new pieces. Among the highlights are her double-exposed photographs in which she layered images of abundant produce in Brooklyn grocery stores with pictures of her own works, and her weaves: textile pieces made on hand-made looms that make reference to a wealth of social, political, artistic and pop-cultural moments and people.

Rachel Maclean: The Enchantment of Reason
Josh Lilley, 40-46 Riding House Street, London, W1W 7EX
5 June-1 August
Rachel Maclean, O! They greet you vs ye (2025)
Courtesy the artist and Josh Lilley, London. Photo by Eoin Carey.
For many years Rachel Maclean has been fascinated by the seething abyss beneath the shiny surface of technological developments, realising her films, VR experiences, paintings and sculptures in a sickly confectionary-coloured palette, and with an intensity of action and imagery, that overloads the viewer to the point of queasiness. She has trained her satirical eye on artificial intelligence for some time, and here, as well as paintings, shows her film They’ve Got Your Eyes (2026), also currently on view at FACT in Liverpool, which equivocates insufferable 21st-century tech bros with the visionaries of the Victorian industrial age. Typically, while questioning AI and the culture around it, Maclean uses its technologies to make the work, laying bare the contradictions inherent in our navigation of the digital landscape.

Terry Winters: Along the River
Modern Art, 8 Bennet Street, London, SW1A 1RP
5 June-11 July
Terry Winters, Locus (2026)
Courtesy the artist and Modern Art
These eight new paintings by the US artist reflect his ongoing fascination with the natural world through the medium of abstraction. The pictures, each titled with a single word—among them, Field, Scope and Area—relate to an earlier body of work called the Point Cloud Pictures, referring to a form of 3D modelling but immediately evocative of natural forms. The clouds of shapes we see in Winters’s compositions conjure everything from constellations to murmurations to bacterial mutations, while remaining resolutely in the realms of abstract shape, colour and tone. As befits a group of works born of a singular response to the natural world, the exhibition’s title was inspired by a quote from Paul Cezanne: “Here, along the river, the motifs multiply.”

Keith Piper: Red Flags
Niru Ratnam, 71-73 Great Portland Street, London, W1W 7LP
5 June-25 July
Keith Piper, As Arm in Arm they enter the gallery (1982)
Courtesy the artist and Niru Ratnam, London
A cluster of works from across Piper’s career, including pieces made in the crucial 1980s period in which he was a founding member of the BLK Art Group. Since that time, Piper’s work has remained remarkably consistent in using a range of media, including digital technologies, to explore systemic racism and narratives of Blackness amid wider social conditions. The exhibition’s title relates to his most recent works, where he makes reference to Operation Raise the Colours, a recent campaign where the display of English and British flags, purportedly representing patriotism, thinly masks growing far-right xenophobia in the UK.

Hayv Kahraman: What cannot be said will be wept
Pilar Corrias, 51 Conduit Street, London, W1S 2YT
5 June-5 September
Hayv Kahraman, Four figures kneeling (2026)
Courtesy of the artist and Pilar Corrias, London
Kahraman’s latest body of work explores both her background as a Kurdish-Iraqi refugee in Europe and ultimately the US, and a recent acute trauma—losing her home in Altadena to the Los Angeles wildfires in early 2025. As always, the paintings are inhabited by figures that act in part as self-portraits, pictured in an space that is both sparely contemporary yet evocative of numerous historic traditions. The effect is heightened by her exquisite use of her medium; here, in sequences of delicate marbling and staining. Displacement has always been at the heart of her work, and it increasingly extends beyond Kahraman’s autobiography to a deeper human dislocation from the natural world amid a climate catastrophe. “In a burning world,” the artist writes in an extended text on the exhibition, “I turn to water: to seas, to rivers, to tears.”

Anne Imhof: Citizen
Sprüth Magers, 7a Grafton Street, London, W1S 4EJ
5 June-1 August
Installation view of Anne Imhof: Citizen at Sprüth Magers, London
© Anne Imhof; Courtesy the artist and Sprüth Magers; Photo: Ben Westoby / Fine Art Documentation
Anne Imhof’s performance practice, in which her groups of collaborators perform across multiple modes from song to contemporary dance to skateboarding, is so distinctive in the way that it embeds the audience into the fabric of the work that it has overshadowed some of the wider aspects of her work. Her gallery exhibitions reflect her output in the round, involving sculptural environments and pieces in more conventional media including painting. Among the works on view here is the eponymous Citizen, a four-channel film relating to DOOM: House of Hope (2025), Imhof’s multi-part work for the Park Avenue Armory in New York, and a group of Wave paintings, vast pieces informed by digital images of turbulent seas. The paintings unavoidably conjure the spirit of earlier German traditions, from Caspar David Friedrich’s Romanticism to the photo-paintings of Gerhard Richter.

Caragh Thuring
Thomas Dane Gallery, 3 & 11 Duke Street, St James’s, London, SW1Y 6BN
5 June-19 September
Caragh Thuring, detail of The Announcement (2025)
© Caragh Thuring. Courtesy the artist and Thomas Dane Gallery. Photo: Ben Westoby
One of Caragh Thuring’s most enduring capacities is for surprise. Her layered paintings can use multiple languages, painterly modes and forms of expression within one canvas, happily bringing together bedfellows one would never ordinarily connect. Her latest canvases are typical in their scope, with cartoonish forms brought into close relation with images from art history and expansive patterns, each piece at once singular and yet coherent within the wider group. These pictures achieve a rare balance, being both arresting and endlessly absorbing. Also on show at Thomas Dane is Out and About: Prunella Clough paintings from the 1980s and 1990s, a significant gathering of the late work of the lyrical British painter, curated by the former director of Camden Art Centre, Jenni Lomax (5 June-25 July).

East and South
Picked by Louisa Buck

Gabriele Beveridge: Never Ends
Seventeen, 270-276 Kingsland Road, Entrance on Acton Mews, London, E8 4DG
22 May-27 June
Gabriele Beveridge, Spine (2026)
Courtesy of Seventeen, 2026.
Gabriele Beveridge highlights the inextricable intertwining of the ecological with the industrial in sculpture that combines organic bodily forms with industrial processes. One of these latest works in hand blown glass resembles a giant teardrop hitched to a metal spine, another a column of fleshy pink orbs while others take the form of balloons that slump and spill over skeletal metal structures. Chemical reactions and extreme heat also play a part in creating a series of aluminium panel pieces, anodised to a sheen through an electrochemical process before being bathed in sulphuric acid and dripped with dyes resulting in branchlike vegetal patterns that, despite their artificial origins, conjure up natural connotations of milk duct anatomy, river networks, and mycelium.

Alvaro Barrington: 92-01 ‘In Livin Color’
Emalin, 4–8 Helmet Row, London, EC1V 3QJ
6 June-15 August
Alvaro Barrington: 21-01 ‘In Living Color’ promotional image
Courtesy of the artist
In this new body of work Barrington explores the impact of the crack cocaine epidemic on the US Black community during the 1980s and 90s. Four unique environments – each representing one of the four seasons – examine the rich cultural responses that emerged from this era and ways in which the Black community dealt with this condition through fashion, music, and other art forms. The year 1992 has become a nostalgic baseline for Barrington, referencing 1990s New York and Caribbean hip-hop, fashion, and pop culture. It also represents the end of the iconic NBC sitcom A Different World – the title also given to the ongoing series of hand-stitched postcards that Barrington has been making since his MoMA PS1 show in 2017- a number of which are included in this show. Other new yarn and concrete-based paintings continue Barrington’s distinctive material vocabulary explored in key projects such as his Tate Britain Duveens Commission in 2024, and his continuing participation in the Notting Hill Carnival. Emalin Clerk’s House is showing Hungry for Trash, a solo exhibition of new works by American artist Kembra Pfahler.

Delaine Le Bas: Leap
Maureen Paley, 4 Herald Street, London, E2 6JT
4 June-25 July
Delaine Le Bas, Blue House (2025)
© Delaine Le Bas, courtesy Berengo Studio, Murano, Italy and Maureen Paley, London. Photo: Francesco Allegretto
Centre stage in the gallery’s first exhibition of Delaine Le Bas is the Goddess, a sculptural figure fashioned from handmade elements and found objects as well as vintage textiles which the artist, who grew up in a Romani family and whose multimedia work interrogates identity, representation and cultural misunderstanding, describes as “a call to action in the times we now find ourselves.” Also on show is a new series of Murano glass works, created in collaboration with Studio Berengo in Venice which draws on imagery associated with witches and folkloric outsider figures as part of Le Bas’s broader and ongoing interest in difference, individuality and the power of transformation.

Ally Fallon: At the still point of the turning world
Hales Gallery, 7 Bethnal Green Road, London, E1 6LA
4 June-17 July
Ally Fallon, Poppies (2026)
Photo: Michael Pollard. Courtesy of the artist and Hales Gallery
Last year’s winner of the prestigious John Moores painting prize and the youngest ever artist to scoop this prestigious award, Ally Fallon here continues his exploration into the process of painting, in works that combine both structure and spontaneity and build on the legacy of English Abstraction . Repetitive labour-intensive rendering of densely patterned floors drawn both from his immediate surroundings and wider travels, acts both to ground the work in a recognisable world while also freeing up the subconscious, allowing atmosphere and unexpected gestures to emerge. The show’s title is taken from a line in T.S. Eliot’s poem Burnt Norton, a meditation on temporal existence where consciousness resides in the ‘still point’ of the present; and Fallon’s paintings similarly engage with time as an abstract and elastic condition .

Unyimeabasi Udoh: No Vehicles
Alma Pearl, Unit T, Reliance Wharf, 2-10 Hertford Road, Main entrance on Kingsland Towpath, Regent’s Canal, London, N1 5ET
21 May-4 July
Unyimeabasi Udoh, No Vehicles (Siren) (2026)
© Unyimeabasi Udoh. Courtesy of Alma Pearl, London

New work by this London–based Nigerian American artist whose wall-based sculptures engage with the materiality of language, image and sign. Meticulously fabricated from materials such as aluminium and retroreflective glass that are more commonly associated with road infrastructure, their low contrast surfaces are activated by changing light and the perspective of viewers, variously shifting in appearance from luminous to opaque and sometimes the seemingly void. These are accompanied by a group of screenprints titled Diversions which are based on photographs of advertising billboards and hoardings captured in London across the past year. There’s also a site-specific installation which maps the gallery in silver masking tape.

Elena Njoabuzia Onwochei-Garcia: The Altering of Innocence and Experience
William Hine, 311 Camberwell New Road, London, SE5 0TF
5 June-25 July
Elena Njoabuzia Onwochei-Garcia, P’s Curiosity (2026)
Courtesy of William Hine
Central to this exhibition of new work by Glasgow-based Onwochei-Garcia is an installation of large-scale, suspended collages that combine individual works into dangling immersive structures. Here layered compositions rendered in watercolour and pastel on Japanese washi paper depict allegorical scenes that draw on literature, myth and folklore, intertwining historical research with fictional references. These range across Homeric myths to William Blake’s illustrated poems (which give the show its title) and Goya’s Caprichos etchings. All combine to form complex and unstable tableaux inhabited by dreamlike fantastical figures and environments. These large but fragile works are also interspersed with smaller paintings made from milk-based casein applied to pieces of marble.

Heft: Melissa Joseph; A Thin Place: Max Bainbridge
Sim Smith, 6 Camberwell Passage, London, SE5 0AX
6 June-18 July
Melissa Joseph’s felt work
Courtesy of the artist. Photo: Daniel Greer
New York-based Melissa Joseph’s first large-scale exhibition in the UK consists of large felted works made from fleece and elements from the landscape which have been created in response to research following sheep across Scotland. Drawing on her Indian-American upbringing Joseph highlights a resonant parallel between animal instinct and human migration by noting how ewes pass down vital spatial knowledge to their lambs. She then uses this phenomenon as a lens to explore how human displacement disrupts cultural, emotional, and epigenetic memory. In the gallery’s second solo show, British sculptor Max Bainbridge’s carved wooden works  assume the role of bodily analogues to explore the thin and porous boundary between humans and nature.

Dominic Watson: Vinegar and Piss
The Sunday Painter, 117-119 South Lambeth Road, London, SW8 1XA
27 May-11 July
Dominic Watson, Ecstasy of Want 2 (2026)
Courtesy of the artist and The Sunday Painter
Dominic Watson presents a large-scale sculptural installation centred around a galleon constructed from reclaimed wooden children’s playhouses. Visitors can enterthis fantastical structure which stands as a portrait of contemporary England: a nation adrift, run aground, and in decline. The crew are fragmented figurative sculptures made from clay, wax, polystyrene, and papier-mâché who have descended into chaos and madness. Even the female figurehead is being sucked dry by breast pumps feeding perpetually voracious mouths protruding from the ship’s sides .The expression ‘full of piss and vinegar’ used to describe youthful energy and combative spirit – but here it is reversed to describe a sour, sad and not at all Merrie England, now sustained only by nostalgia and small minded nastiness.

Serena Korda: The Golem Rises
Cooke Latham, 41 Parkgate Road, London, SW11 4NP
5 June-3 July
Serena Korda, , Am I a Monster (2026)
Courtesy Cooke Latham Gallery. Photography BJ Deakin Photography.
In the allegorical ceramic frieze that forms the heart of this show, Serena Korda reimagines the Jewish folkloric story of the Golem’s creation to explore the transformative power of motherhood and the elemental energy of creation. By conjuring a mythic city of women and merging it with the enduring mythic power of the Golem, Korda reframes motherhood as a site of radical power, imagination and survival and celebrates maternal creation as elemental and political. But at the same time, by using the language of domesticity – the frieze is made from ceramic tiles and two domestically scaled ceramic lamps take the form of strong primal mother figures – Korda also acknowledges the enduring and stifling societal pressure to narrow, contain, and domesticate the self.

This and That: Francesca Anfossi, Gabriele Beveridge, Jane Bustin, Alan Charlton, Rose Davey, Iain Hales and Gary Woodley
Sid Motion Gallery, 24a Penarth Centre, Hatcham Road, London, SE15 1TR
5 June-10 July
Rose Davey, Camden in Spring (2025)
Courtesy of the artist and Sid Motion Gallery
Co-curated with artist Rose Davey, who also contributes by painting a table made by Gary Woodley, this seven artist mixed show proposes that nothing stands alone and that every object, colour and idea can only be understood in relation to another. As well as Woodley’s table and Francesca Anfossi’s stools, both of which only make sense when sat at, Alan Charlton’s diptych demonstrates the impact of combined painted and unpainted canvas, while Davey’s paintings investigate the effect of one colour upon another. Works by Gabriele Beveridge, Jane Bustin and Iain Hales further demonstrate how meaning emerges from and depends on the contrasts, spaces and relationships between forms.
The spotlight turns on south London on 5 June where young artists are getting their debut shows and veterans of the Venice Biennale are making a comeback
From a stolen portrait of Francis Bacon to encromancy, here’s our selection of outstanding shows to see in the UK capital

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